琴弦之舞 | 意大利克莱蒙纳小提琴博物馆与礼堂_文化中心_设计案例作品

发布时间：2017-05-03 00:48:00 {{ caseViews }} {{ caseCollects }}

设计亮点

有机雕塑般的建筑形式，强调声波传播的流体工程，实现观众与音乐家之间的深度互动。

合作者拱。尼古拉·比格纳迪，拱门。阿莱西亚·安东尼奥利(Alessia Antonioli)西尔维娅·莫拉西，阿尔奇。玛蒂娜·瓦罗利，阿奇。大卫·安德里亚·诺利，拱门。马塞洛·塞西尼，阿奇。Alessandra Dall‘Ara，拱门。弗朗西丝卡·加里纳，拱门。伊拉里亚·法拉贝拉(Ilaria Falabella)Sabrina Bacchi图形测试-领事馆

Collaborators arch. Nicola Bignardi, arch. Alessia Antonioli, arch. Silvia Morassi, arch. Martina Varoli, arch. Davide Andrea Nolli, arch. Marcello Cesini, arch. Alessandra Dall’Ara, arch. Francesca Gallina, arch. Ilaria Falabella, arch. Sabrina Bacchi Graphics TESTA – Consulenti & Creativi Pubblicitari Structural Engineer ing. Mario Galli MEP Studio Associato Perlini Civil Engineer ing. Mario Galli Owner FONDAZIONE GIOVANNI ARVEDI E LUCIANA BUSCHINI Manufacturers Loading... More Specs Less Specs

罗兰·哈贝

架构师提供的文本描述。礼堂被认为是一种表现乐器之美的形式，它的产生既代表了伟大的音乐传统，也面向着音乐的未来。其结果是一个由柔软的体积，曲折的线条互相追逐，并画出一个巨大的有机雕塑，表达声波传播的流体工程。

Text description provided by the architects. Conceived as a form of expressing the beauty of instruments, the Auditorium came into being to represent the great musical tradition, but also to confront the future of music. The result is a fluid project made of soft volumes, sinuous lines chasing each other and drawing a great organic sculpture which expresses thespreading of sound waves.

Interior Sketch

室内素描

一个平行的项目：建筑和声音，发布一系列的形状，卷，视图：焦点是集中注意力的中心阶段。一个重要的声学和建筑的选择，沉淀了所有涉及到的幻象，几乎回忆起魏玛的包罗万象的剧院.声音形成的空间，大厅较低层次上的圆形舞台，是观众的磁核，吸引人们对音乐事件的关注，使其形象充分集中。观众被“包裹”在音乐家身上，观众和演奏者之间的对话产生了强烈的情感影响，并允许一种超越古典音乐会概念的新体验。

A parallel project: architecture and sound, releasing a sequence of shapes, volumes, views: the focal point is the central stage where attention is immediately centred. An important acoustic and architectonic choice sedimenting all-involving visions, recalling almost the Weimar all- embracing theatre. The space where sound is formed, the circular stage on the lower level of the hall, is a magnetic nucleus for the audience, drawing attention to the musical event to the musical event and making its image fully central. The audience is “wrapped round” the musicians, the dialogue that is created between the audience and the players producing a strong emotional impact and allowing a new experience which goes beyond the classical concert concept.

罗兰·哈贝

建筑是为了激发人们的情绪而做的，但是声学工程师YasuHisa Toyota研究的声学也成为了大厅的强项。建筑试图“捕捉”声音，将其转化为图像；音乐，本质上是短暂的，从物质中变出来：在庆祝弦乐器的地方，永恒而短暂的对话。

The architecture is done to excite emotions, but the acoustics, studied by the acoustics engineer Yasuhisa Toyota, also become a strong point of the hall. The architecture tries to “capture” sound to translate it into an image; music, ephemeral by nature, becomes from, substance: permanent and ephemeral in a timeless dialogie in the place celebrating string instruments.

罗兰·哈贝

Conceptual Sketch

概念草图

建筑空间的流动性和有机性，按曲线造型的生活和脉动材料，与包含礼堂的矩形大厅的规则和无菌定义形成对照，就像一个打开它的惊喜的盒子。一个基本的想法：沿着平行线在声音和建筑之间建立一个同一性，在似乎结晶声波的空间中。

Fluidity and organicity of the architectonic spaces, living and pulsating material which is moulded following curvilinear lines, contrasting with the regular and sterile definition of the rectangular hall which contains the Auditorium, like a box opening up its surprises. A basic idea: to build along parallel lines an identity between sound and architecture, in spaces that seem to crystallize sound waves.

罗兰·哈贝

一座关于许多惊喜和奇迹的宫殿：建筑上的机制是通过将材料的柔软和丰满连接起来的，这种机制的定义是空间的流体连接，突出柔软的曲线和紧凑型辐条，使表面振动和转动，这是一种以开阔的视野和一瞥、集中和创新的本质为基础的建筑。

A palace on many surprises and wonders: mechanisms on an architecture that is built by joining softness and fullness of materials, defined in the fluid concatenations of the spaces highlighting soft curves and tight spokes which make the surfaces vibrate and turn, an architecture which lives on open views and glimpses, concentration and inventive essence.

Section H-H

H-H节

Section L-L

L-L节